Not surprisingly, Sicario: Day of the Soldado is getting very mixed reviews.
I loved the original, but I’ll probably wait for streaming on this one.
Somehow I doubt that the third Escape Plan will happen, considering disaterous reviews Hades received, even if Stallone signed for the third. Though if it recuperates money, and the budget isn’t big, who knows?
They already filmed it.
EP made $40M in China; if the sequel gets released there (it’s DTV in most places) it will probably make money that way.
‘Sicario 2’ sounds mixed up and misconceived, to me. As powerful as actors like Del Toro and Brolin are, I’m not all that interested in their characters, and moving away from the drug cartel setup of the first film, rather than exploring it further, smacks of mixed goals from those making the movies.
It feels to me like they don’t know if they’re making mainstream action movies with a couple of important ideas, or intelligent thrillers that also have some action?
I like both, but not when they get confused.
I’m starting to sour on Taylor Sheridan. I loved Sicario and Hell or High Water, but Wind River just felt like a lesser remix of the same themes, and his TV show Yellowstone sounds like the same thing again:
I did not like Wind River. Renner’s character didn’t work at all and the “mystery” wasn’t really much of one.
Yeah, it was a good film with a pretty solid conclusion. I wasn’t crying out for something more like Colombian Jason Bourne.
He may be a very good writer who is better at writing than conceptualising?
There are truly gifted ideas people who can’t get their brilliant ideas on the page, and talented wordsmiths (pretentious title but I think it gets the point across?) who have a lot of trouble with finding ideas worth writing.
Hollywood overdoes the constant, revolving door of writer after writer on projects, but people have strengths and weaknesses.
It makes sense to play to strengths.
Always thought “wordsmith” was more of a working-class writer; busts butt during the day, writes in the evening, will get some sleep in the grave. I think my idea comes from all the wordsmiths working late-1950’s-1970-or-so. Good example is Perry Mason. Just watched an ep last night and the name Jackson Gillis jumped out. IMDb tells me he wrote 31 episodes. That’s 31 52-minute dialogue-constant episode scripts. Okay, so Erle Stanley Gardner wrote 260 episodes. Most folks can’t do that. (Mason was on 1957-1966, 40+ episodes a “season”.)
I used to love watching Perry Mason reruns back in the 1980s.
It does hold up.
According to Deadline, Dolan — the director and star of films like Mommy and Tom at the Farm — and Will Beinbrink (Free State of Jones) have been cast in IT: Chapter Two, which is currently gearing up for production. Beinbrink will play the role of Tom Rogan, Beverly’s abusive husband, which lends some additional weight to her arc in the sequel. But Dolan’s casting is the more interesting news here, as he’ll be playing the small but incredibly crucial role of Adrian Mellon.
Stephen King’s original novel opens with the death of Mellon — a young, gay man living in Derry, Maine in the ’80s. In the book, Mellon is attacked by a group of men who hurl homophobic slurs at him and his partner, Don Hagarty, before tossing Mellon off the side of a bridge and into the canal (which, it’s noted, has been defaced with homophobic graffiti). He survives the attack, only to come face to face with our old friend Pennywise the Clown, who viciously murders Mellon, heralding the evil entity’s return to Derry.
I was disgusted to find Citizens On Patrol is a 0% rotten tomatoes film.
We live in the darkest timeline.